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Using archaeological data to examine the development of Han dynasty Chinese art (206 BC-AD 220), this book focusses on the iconography of paradise. Influence from the Chinese Bronze Age is discussed along with a surprisingly profound debt to Greece, the Near East and the steppe.
Numerous Iron-Age nomadic alliances flourished along the 5000-mile Eurasian steppe route. From Crimea to the Mongolian grassland, nomadic image-making was rooted in metonymically conveyed zoomorphic designs, creating an alternative ecological reality. The nomadic elite nucleus embraced this elaborate image system to construct collective memory in reluctant, diverse political alliances organised around shared geopolitical goals rather than ethnic ties. Largely known by the term "e;animal style"e;, this zoomorphic visual rhetoric became so ubiquitous across the Eurasian steppe network that it transcended border regions and reached the heartland of sedentary empires like China and Persia. This book shows how a shared fluency in animal-style design became a status-defining symbol and a bonding agent in opportunistic nomadic alliances, and was later adopted by their sedentary neighbours to showcase worldliness and control over the "e;Other"e;. In this study of enormous geographical scope, the author raises broader questions about the place of nomadic societies in the art-historical canon.
In ancient and medieval times, the Silk Road was of great importance to the transport of peoples, goods, and ideas between the East and the West. A vast network of trade routes, it connected the diverse geographies and populations of China, the Eurasian Steppe, Central Asia, India, Western Asia, and Europe. Although its main use was for importing silk from China, traders moving in the opposite direction carried to China jewelry, glassware, and other exotic goods from the Mediterranean, jade from Khotan, and horses and furs from the nomads of the Steppe. In both directions, technology and ideologies were transmitted. The Silk Road brought together the achievements of the different peoples of Eurasia to advance the Old World as a whole. The majority of the Silk Road routes passed through the Eurasian Steppe, whose nomadic people were participants and mediators in its economic and cultural exchanges. Until now, the origins of these routes and relationships have not been examined in great detail. In The Prehistory of the Silk Road, E. E. Kuzmina, renowned Russian archaeologist, looks at the history of this crucial area before the formal establishment of Silk Road trade and diplomacy. From the late Neolithic period to the early Bronze Age, Kuzmina traces the evolution of the material culture of the Steppe and the contact between civilizations that proved critical to the development of the widespread trade that would follow, including nomadic migrations, the domestication and use of the horse and the camel, and the spread of wheeled transport. The Prehistory of the Silk Road combines detailed research in archaeology with evidence from physical anthropology, linguistics, and other fields, incorporating both primary and secondary sources from a range of languages, including a vast accumulation of Russian-language scholarship largely untapped in the West. The book is complemented by an extensive bibliography that will be of great use to scholars.
Although they existed more than a millennium apart, the great civilizations of New Kingdom Egypt (ca. 1548-1086 BCE) and Han dynasty China (206 BCE-220 CE) shared intriguing similarities. Both were centered around major, flood-prone rivers--the Nile and the Yellow River--and established complex hydraulic systems to manage their power. Both spread their territories across vast empires that were controlled through warfare and diplomacy and underwent periods of radical reform led by charismatic rulers--the "heretic king" Akhenaten and the vilified reformer Wang Mang. Universal justice was dispensed through courts, and each empire was administered by bureaucracies staffed by highly trained scribes who held special status. Egypt and China each developed elaborate conceptions of an afterlife world and created games of fate that facilitated access to these realms. This groundbreaking volume offers an innovative comparison of these two civilizations. Through a combination of textual, art historical, and archaeological analyses, Ancient Egypt and Early China reveals shared structural traits of each civilization as well as distinctive features.
E. H. Gombrich's Little History of the World, though written in 1935, has become one of the treasures of historical writing since its first publication in English in 2005. The Yale edition alone has now sold over half a million copies, and the book is available worldwide in almost thirty languages. Gombrich was of course the best-known art historian of his time, and his text suggests illustrations on every page. This illustrated edition of the Little History brings together the pellucid humanity of his narrative with the images that may well have been in his mind's eye as he wrote the book. The two hundred illustrations—most of them in full color—are not simple embellishments, though they are beautiful. They emerge from the text, enrich the author's intention, and deepen the pleasure of reading this remarkable work. For this edition the text is reset in a spacious format, flowing around illustrations that range from paintings to line drawings, emblems, motifs, and symbols. The book incorporates freshly drawn maps, a revised preface, and a new index. Blending high-grade design, fine paper, and classic binding, this is both a sumptuous gift book and an enhanced edition of a timeless account of human history.
This is the first comprehensive study of popular culture in twentieth-century China, and of its political impact during the Sino-Japanese War of 1937-1945 (known in China as "The War of Resistance against Japan"). Chang-tai Hung shows in compelling detail how Chinese resisters used a variety of popular cultural forms—especially dramas, cartoons, and newspapers—to reach out to the rural audience and galvanize support for the war cause. While the Nationalists used popular culture as a patriotic tool, the Communists refashioned it into a socialist propaganda instrument, creating lively symbols of peasant heroes and joyful images of village life under their rule. In the end, Hung argues, the Communists' use of popular culture contributed to their victory in revolution.